Suggested Learning Resources
- Root position and first inversion chords are thought of as relatively
stable, and often exhibit the harmonic function that their Roman numeral indicates. However,
second inversion (6/4) chords are relatively unstable in terms of function, and usually
function as embellishing other chords around them. There are several categories
of 6/4 chord embellishments.
- The cadential 6/4 is a type of second inversion chord occurring at a cadence
usually followed by a I chord (that ends the phrase)
- The cadential 6/4 can also end the phrase itself resulting in a half-cadence
- What is labeled the ‘cadential 6/4’ is actually the combination of two
chords: second inversion tonic ( I 6/4 ) followed by root position dominant ( V 5/3
)
- Although the literal notes involved of a cadential 6/4 are I 6/4 going
to V 5/3 , the ear does not really hear the I 6/4 as a tonic harmony (rather it hears
both chords as one dominant functioning harmony), thus many theory texts will label
a cadential 6/4 as V 6/4 – 5/3 (see learning resources for better graphic representation)
- The first chord of the cadential 6/4 should have the bass note doubled
(otherwise voice-leading problems will occur)
- Note – The second chord within a cadential 6/4 can involve the chordal
7th. When this occurs the cadential 6-4 is usually written as V 8/6/4 – 7/5/3
- In terms of function, this type of 6/4 event usually has a dominant function
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- Identify a I chord in second inversion
- See if the following chord is a root position V chord with the approaches
to third, fifth, (and sometimes 7th) all descending by step
- Usually the chord that precedes a cadential 6/4 has a predominant function
(usually a supertonic chord or a subdominant chord)
https://youtu.be/U_47ly6iTYw
Objective 19.1: Define and label the Cadential 6/4 in music exercises, and identify
in real music examples